Search

This paper examines how the use of multiple platforms is tied to awareness of algorithms. It builds on the premise that users interact with ecologies or environments of technologies rather than single platforms. The study also supplements work on algorithmic awareness by implementing a mixed-method study to account for how Costa Rican users of Netflix and Spotify understood and related to the algorithms of these platforms. This study combined a survey of 258 participants and 21 in-depth semistructured interviews. Findings demonstrate that multi-platform users were more aware of algorithms and carried out more practical actions to obtain algorithmic recommendations than single-platform users. Although user type did not predict participants' attitudes towards algorithmic recommendations, higher levels of awareness were associated with more positive attitudes towards algorithms. The study also shows that differences in levels of awareness explained users' emotional arousal derived from algorithms. [ABSTRACT FROM AUTHOR]

This paper examines recent transformations in music industries associated with platformization by privileging the perspectives, experiences, and voices of artists. We draw on in-depth interviews with 41 musicians based in two Latin American countries: Costa Rica and Mexico. We analyze how artists perceive the "power" and limitations of playlists, how they think playlists are transforming music industries, and how they associate various forms of pressure with this process. We then show that artists' perceptions about these issues are not uniform but rather variable by discussing three logics that shape the meaning they attribute to Spotify and playlists: dominant, oppositional, and negotiated. Finally, the paper explains the factors that account for why musicians in these countries espouse these logics in different ways. The conclusion argues for considering platformization as more than a purely technological process that needs to be situated within the wider national histories and cultural configurations of the music industries. [ABSTRACT FROM AUTHOR]